Variations on America

Wednesday 15 May 2013 at 7.30pm

Symphony Hall, Birmingham +44 (0)121 345 0600

City of Birmingham Symphony Orchestra 

Matthew Coorey  conductor

Roderick Williams  baritone

Ives: Variations on America 7′

Herrmann: Suite from Psycho 10′

Copland: Appalachian Spring – Suite 24′ Listen on Spotify

Adams: The Wound-Dresser 20′

Bernstein: Symphonic Dances (West Side Story) 23′ Listen on Spotify

Encore – Bernstein: Candide Overture

No country is as diverse as the USA – and that goes for its music too. But whether you’re walking Leonard Bernstein’s mean streets or deep in Aaron Copland’s green hills; whether you’re at the movies with Bernard Herrmann or searching a nation’s psyche with John Adams, you’re guaranteed sincere feelings, epic vistas and larger-than-life tunes. And, of course, fun – as conductor Matthew Coorey kicks off with Ives’s outrageous musical spoof of a tune that you might just recognise…

This concert coincides with the prestigious annual conference of the British American Business Council (BABC), taking place in Birmingham from 15–17 May 2013.



Review by Peter Marks, BachTrack:

Click here for full review

…     “The programme also featured a rare concert hall outing for Bernard Herrmann’s “narrative for string orchestra” from his score for Psycho. It was a thrilling to hear this fine symphonic film score played by a world-class symphony orchestra, particularly as it was film music that first drew me into the world of classical music. The attentiveness, throughout the concert, of the schoolchildren present suggested that at least a few more young people will hopefully follow in my footsteps.

Coorey’s highly disciplined conducting style ensured a taut attack in Herrmann’s irresistibly angsty “opening titles” scene. The string players of the CBSO clearly relished the Stravinskian writing, with numerous bow hairs lost in attrition as the suite progressed. Perhaps most recognisable of all is the graphic murder scene featuring those iconic and terrifying violin glissandos, which, the excellent programme note suggested, were a reference to Norman Bates’ taxidermic avian collection.  […]

[…]  Roderick Williams was the unflinching baritone protagonist, looking the audience squarely in the eye as he sang with a beautiful, creamy tone. Though the orchestral writing is characteristic of Adams, with its pulsing ostinatos and the addition of a synthesiser to more standard orchestral forces, the vocal line reminded me at times of Britten, who would surely have approved of setting this sort of material to music. The mood of the music changed with each verse and particularly vivid orchestral outbursts accompanied key phrases. Alan Thomas on two types of trumpet provided tender solos and Beyers was, once again, a tirelessly sensitive violin soloist.”     …




Review by Maggie Cotton, Birmingham Post:

Click here for full review

…     “Conductor Matthew Coorey’s reduced strings scared with  Hermann’s Psycho film music; impending doom mesmerising a rapt audience with  memorable hacking down-bows of screams and murder. “Violins did it!”

With Aaron Copland one is in a deepest Appalachian Spring.  Mysterious countryside, wide skies, gentle mountains. A story of lovers, country  folk, all encompassed by deliciously lop-sided rhythms, hymns, fiddlers and  square-dancers. Smiling pastoral music, not a gun in sight. All obviously  enjoyed by the players, fully entering into the spirit of the music.”     …


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